Music and the Moving Image VIII
NYUSteinhardt
Steinhardt School of Culture, Education, and Human Development
DEPT. of MUSIC and PERFORMING ARTS PROFESSIONS
Program in Scoring for Film and Multimedia
MAY 31 – JUNE 2, 2013
Conference Committee
Ronald H. Sadoff, Gillian B. Anderson, Krin Gabbard, Ray Knapp, Katherine Spring
REGISTRATION
Friday, May 31, 8:30-6:00, Saturday, June 1, 9-6, Sunday, June 2, 9-12
Lobby
35 West 4th Street - New York City
FRIDAY, May 31, 9:30 - 11:00 AM
Frederick Loewe Theatre
Welcome: Ron Sadoff and Gillian Anderson
A performance in remembrance of Rebecca Coyle: “For Rebecca” Joseph Twist, Composer
Comments by Natalie Lewandowski: Acting joint editor of Screen Sound Journal, Sydney, Australia
Christopher Bush, clarinet - Patti Kilroy, violin - Emirhan Tunca, cello - Minji Kwon, piano
1. Music Production Libraries: The Craft and the Business
Doug Wood, President of Omnimusic & ASCAP Board Member
Respondents: Ron Sadoff, Jeff Smith, Elisabeth Weis
FRIDAY, May 31, 11:30 - 1:00PM
35 West 4th Street
Room 303
2. Chair: Gillian Anderson
6th Floor
3. Chair: Ron Sadoff
Room 779
4. Chair:
Mark Richards
From Shadows to Limelight: Film Music as
Foreground, Middleground, and
Background
Isabella Van Elferen
Music's Dark Descent: Sonic Immersion in
Psychological Horror Games
Matthew McAllister
Bloodlust and Transcendent Evil: The Use
of Richard Wagner's Tristan Und Isolde in
the Film Apt Pupil (1998)
Matt Malsky
Early Cinemascope Sound Experiments
Iain Hart
Meaningful Play: A Performative Analysis of
Video Game Music
Brian Mann
Victor Young's Score for Golden Earrings
(1947): The "Hungarian" and "Gypsy"
Connections
Claudia Gorbman
Heard Music
James Burton
Historical Signposts and Musical Icons for
the Audience: Considering Student
Analyses of Songs in Forrest Gump
FRIDAY, May 31, 2:00 - 3:30PM
Room 303
6th Floor
5. Chair: Raymond Knapp
6. Chair: Ron Sadoff
Room 779
7. Chair:
Justin Mueller
Opera-Film Hybridization in Kenneth
Branagh's and Ingmar Bergman's Magic
Flute Films
William Gibbons
Playing Chopin: Classical Music and
Postmodernity in Eternal Sonata and
Frederic: Resurrection of Music
Beth Carroll
Audio-Visual Haptic Experience in Billy
The Kid and The Green Baize Vampire
(1985)
Katherine Reed
Metal Machine Music: Noise and Hybridity
in Tetsuo: The Iron Man
Sarah Pozderac-Chenevey
A Direct Link to the Past: Nostalgia and
Semiotics in Video Game Music
Ryan Bunch
Bursting into Flight: Adolescent Desire and
Embodied Song in Animated Musicals of
the Disney Renaissance
Naomi Graber
What I Imagine Film Music Ought To Be:
Anti-Wagnerian Leitmotifs in Kurt Weill's
The River Is Blue
Steven Reale
Keeping Score: The Game World as Musical
Notation
Megan Woller
The Search for One Brief, Shining Moment:
Hollywood's Adaptation of Lerner and
Loewe's Camelot (1967)
FRIDAY, May 31, 4:00 - 5:30PM
Room 303
6th Floor
8. Chair: Gillian Anderson
9. Chair: Ron Sadoff
Room 779
10. Chair: Krin Gabbard
Anna Windisch
Scoring the Eternal Peace in 1918. An
Audio-Visual Analysis of the Viennese
Performance of the Silent Film Pax Aeterna
Ryan Thompson
Operatic Conventions and Expectations in
Final Fantasy VI
Zhichun Lin
How does Wuxia become Globalized?:
Music in Contemporary Chinese Martial
Arts Films
Monica Chieffo
Maria's Veils, Salome's Machinery: The
Dance Scenes in Metropolis and Salome
Kyle Roderick
Mass Historia: Rewriting (Music) History in
Civilization IV
Ho-Chak Law
Chinese Operatic “Théâtre Filmé” and its
Discontent: A Comparision Between The
Flower Princess (1959) and The Love Eterne
(1963)
Gillian Anderson
The Musical Common Denominator in
Pantomime and Film
Michiel Kamp
The Civilization IV History of Western Music
Natalie Matias
Scoring Kubrick's 2001: A Space Odyssey a Comparative Analysis of Gyorgy Ligeti
and Alex North, as Their Music Would
Appear in the Film
FRIDAY, May 31, 6:00 - 7:30PM
Room 303
6th Floor
11. Chair: Ron Sadoff
12. Chair: Raymond Knapp
Room 779
13. Chair: Gillian Anderson
Phillip Johnston
Silent Films/Loud Music: Composers of
Contemporary Scores for Silent Film
Compare Notes
Natalie Lewandowski
Are You Experienced?: The Learning and
Education Pathways of Film Soundtrack
Personnel
Durrell Bowman
The Spring in Springfield: Alf Clausen's
Music for Songs and "Mini-Musicals" on
The Simpsons
Christine Evans-Millar
When Ramones Meet Ravel: Proposing a
New Approach for Compiled Soundtrack
Analysis
Vasco Hexel
Workload Distribution among Hollywood
Composers
Colleen Montgomery
Under the Sea, Under the Stars: The Sonic
Construction of Space and Place in Pixar's
Finding Nemo (2003) and Wall-E (2008)
Carter John Rice
Thematic Transformation in Modern
Action-Adventure Films
Peter Broadwell
Studios, Syndicates, and the Imdb: The
Evolution of Composer Networks in
Hollywood Film Scoring
7:30 - 9:00PM RECEPTION 6th FLOOR
SATURDAY, June 1 9:30 - 10:30 AM
Frederick Loewe Theatre
14. Film Scoring in Higher Education: Roundtable
Dan Carlin, Chair (USC) - George S. Clinton (Berklee) – Haldor Krogh (Lillehammer Univ., Norway) - Ron Sadoff (NYU)
SATURDAY, June 1, 11:00 - 12:30
Room 303
6th Floor
15. Chair: Gillian Anderson
16. Chair:
Room 779
17. Chair: Krin Gabbard
Christopher Natzén
Formation of Swedish Cinema Music
Practice 1905-1915
Per F. Broman
Mute the Bereaved Memories Speak: A
Pasolinian Requiem
Alex Mesker
From Hi-Q to Low Art: The Use of Music
Libraries and Underscore in HannaBarbera's Cartoons of the 1960s
Eric Dienstfrey
Gottschalk's Patchwork Girl and Problems
of Early Film Music Synchronization
Charles Leinberger
Musical Gesture, Modality, and Dissonance in
"L'estasi Dell'oro" From Il Buono, il Bruto, il
Cattivo: Decoding Ennio Morricone's MicroCell Technique
Josh Ottum
Tomorrow's Achievements: Harry Forbes
and the Parry Music Library's Video Tech
Series
Mary Simonson
Visual Symphonies, Live Performance,
and the Cinematic Medium
Stephen C. Meyer
Suoni nuovi/Suoni antichi: Mario Nascimbene
and the Biblical Epic
Jeff Smith
What Exactly is a Partial Cue?:
Jurisdictional Conflict in Warner Bros.
Films of the Early Sound Era
12:30 - 2:00 LUNCH
SATURDAY, June 1, 2:00 - 3:30PM
Room 303
18. Chair: Gillian Anderson
6th Floor
19. Chair: Raymond Knapp
Room 779
20. Chair: Mary Farbood
Michael Slowik
Diegetic Withdrawal and Other Worlds:
Film Music Strategies in the Early Sound
Era, 1927-1933.
Alexandra Roedder
A Comparison of the Japanese and American
Scores for Kiki's Delivery Service and the
Theoretical Implications Therein
Katherine Jarzebowski
Hanz Zimmer and the Music of Gladiator:
Exploiting the Feminine Ideal
Daniel Goldmark
The Musical Roots of The Jazz Singer
James Wierzbicki
Subtle Differences: Music in 'Translation'
Remakes
Dave Ireland
Audiovisual Incongruence within the
Opening Battle Sequence from Gladiator
Jennifer Fleeger
Marion Talley and the Tale of a
Synchronous Scandal
Maurizio Corbella
Representing the South. The Sound of the
"Grotesque" in Italian Films of the 1960s and
1970s
Sergi Casanelles
Hyperorchestra, Hyperreality, and
Inception
SATURDAY, June 1, 4:00 - 5:30PM
Room 303
6th Floor
21. Chair: Krin Gabbard
22. Chair: Mary Farbood
Room 779
23. Chair: Elisabeth Weis
Reba Wissner
For Want of a Better Estimate, Let's Call
it the Year 2000: The Twilight Zone and
the Aural Conception of a Dystopian
Future
Mariana Whitmer
Elmer Bernstein and the Tale of Three
Westerns
Lena Pek Hung Lie
Defining Space in the Dialogic of
Sound/Image of Tarkovsky's Nostalghia
Alex Newton
Music Performing Monsters, Monsters
Performing Music: Organists and Pianists
in 1930s Horror Films
Christopher Culp
The Musical is Going to Kill You: Bodily
Symptoms of Musical Expression
Daniel Bishop
Sounding Spaces of Nostalgia in The Last
Picture Show and American Graffiti
Elizabeth Fairweather
Jerry Goldsmith and the Sonification of
the Monstrous-Feminine
Annette Davison
The Show Stops Here: Viewers' Interactions
with End Credit Sequences
Joakim Tillman
The Evocation of the Magical and the
Expression of Nostalgia: An Analysis of
Two Cultural Musical Codes in the
Hollywood Films
SATURDAY, June 1, 6:00 - 7:30PM
Room 303
24. Chair:
Lisa Scoggin
Hellboy, Gerald McBoing Boing, and the
American Outcast
Jennifer Psujek
Scary Tunes: Popular Song in The Shining
(1980)
Nicholas G. Schlegel
Mondo Mundo: Innovation and Sound
Design in Mexico's El Mundo De Los
Vampiros
6th Floor
25. Chair: Katherine Spring
Room 779
26 Chair: Gillian Anderson
Elsie Walker
Scoring for "The World Ready To Blow Up":
A Psychoanalysis of David Raksin's Score for
Bigger Than Life
.
Romana Klementova
Michel Legrand, Marilyn and Alan
Bergmans: One Team of Authors, Several
Approaches to Film Song
Philippe Cathe
Sofia Coppola's Heterogeneous Art of
Sound
André Rui Graça
Music and Sound as Meta-References: The
Cultural Significance of Instruments and
Musical Styles in Cinema
Ira Österberg
Rock Song in 1990s Russian Cinema: Aleksei
Balabanov’s Brother (1997)
Danijela Kulezic-Wilson
Audio-Visual Musicality and Reflexive
Cinema in Joe Wright's Anna Karenina
* * *
SUNDAY, June 2, 9:30 – 10:30
27. Sounds of Silents: Recordings of Motion Picture Musicians Made in The Silent Period
PHILIP CARLI, Keynote
Frederick Loewe Theatre
SUNDAY, June 2, 11:00 – 12:30
Room 303
28. Chair: Ron Sadoff
6th Floor
29. Chair: Raymond Knapp
Room 779
30. Chair:
Jessica Shine
The Unheard Passenger: Music,
Narration, and Control In Showtime's
Dexter (2006)
Emily Kausalik
Tip of the Hat, Wag of the Finger: Stephen
Colbert and the Value of Performance
Jane Hines
The Enchanted Concerto: World War II,
Propaganda, and Musemes
Max DeCurtins
Making Vulcans Cry, and Other Uses for
Classical Music in the Future
Kristin A. Force
The Connection Between Repetitive Scoring,
Stories, and the Use of Numbers in the TV
Show Touch
Dale Chapman
Ten Minutes from Now: Musical
Topographies of Neoliberal Los Angeles in
Michael Mann's Collateral
Ewelina Boczkowska
Chopin in Film: Music, Politics and
Memory in Poland, 1944-1991
Robynn Stilwell
Background, Foreground, Center, Frame:
Music Pushing the Television Boundaries
Teresa Fraile
Modernity, National Identity and Popular
Music in Spanish Musical Cinema of the
60's
SUNDAY, June 2, 1:30 - 3:00PM
Room 303
31. Chair: Raymond Knapp
6th Floor
32. Chair:
Room 779
33. Chair: Krin Gabbard
Raymond Knapp
The Musical Faces of Pirate Camp in
Hollywood (Part I)
Michael B. Kasinger
Sleight of Ear: The Use of the Unexpected in
Film Scores
Eloise Ross
Then I Felt Tremendously Exhilarated!
Sound and Anxiety in Alfred Hitchcock's
Rope
Katherine Spring
“You Didn't Prepare Me for This":
Musical Authenticity in
Joe Wright's “Hanna”
Jack Curtis Dubowsky
Louisiana Story, Homoeroticism, Hollywood,
and Americana Music
Charity Lofthouse
Mythic Proportions: Rotational Form and
Narrative Foreshadowing in Bernard
Herrmann's Psycho
Meghan Joyce
Breakdown of a Music-Film: The Synthesis of
Media and Musical Realms in Darren
Aronofsky's Requiem for a Dream (2000)
Samuel Baltimore
With My Freeze Ray, I Will Stop--:
Carnival Incompleteness in Dr. Horrible's
Sing-Along Blog and
"Once More, With Feeling"
SUNDAY, June 2, 3:30 - 5:00PM
Room 303
34. Chair: Mary Farbood
6th Floor
35. Chair:
Room 779
36. Chair:
Jim Buhler
Film Music and Narrative Focalization
Rebecca Fulop
Death and the Muse in the 1940s Woman’s
Picture
Allison Wente
Mechanizing Nostalgia: The Music Box in
Film
David Helvering
Emotion Functions in Film Music
Anthony Bushard
Upper Dubbing Revisited: Towards a
Restored Version of Leonard Bernstein's
On The Waterfront
Michael W. Harris
Lost in a Memory: Music as Mnemon in
Cowboy Bebop
William Cheng
Kefka's Laugh, Celes's Cry
Jeremy Barham
Music in Germany’s Earliest Sound Films:
an Archival and Cultural Investigation
Rebecca M. Eaton
Minimalism's Meaning in Multimedia: An
Empirical Approach
SUNDAY, June 2, 5:30 - 7:00 PM
Room 303
6th Floor
37. Chair: Katherine Spring
Room 779
38. Chair:
Randolph Jordan
Tracking Terminal City: Trains in the
Vancouver Soundscape on Film
Jordan Stokes
Whistling Dixie: The Western Progress of a
Musico-Ideological Nomad
Hang Nguyen
A Critical Analysis of Danny Elfman's
Music to Spider-Man: The Finale Scene
Jacqueline Avila
Scoring the Mexican Revolution at Home
and Abroad: Cinematic Music by Silvestre
Revueltas and Alex North
Daniela Smolov Levy
Catering or Uplift? The Cultural Politics
of Democratizing Opera on TV
Frank Lehman
Scoring the President: Political
Representation in John Williams's JFK and
Nixon
> 7:00 PM DINNER - 6th FLOOR CONFERENCE <
- NYU Steinhardt: 35 West 4th St. -
http://www.filmmusicfoundation.org
We appreciate the generous support of scholarships provided by the FILM MUSIC FOUNDATION (FMF), a nonprofit
California Public Benefit Corporation, that promotes appreciation of the art and craft of film music through education,
filmed interviews, scholarly research and writing, and film scoring workshops for students.
http://www.sorelmusic.org
We appreciate the generous support of scholarships provided by THE ELIZABETH & MICHEL SOREL
CHARITABLE ORGANIZATION. Founded by renowned pianist Claudette Corel, The Sorel Organization intends to
create opportunities for women in composition, conducting, piano, voice, and film scoring. Our mission is to keep musical
excellence alive and to help stretch the boundaries for women in music.
MUSIC AND PERFORMING ARTS PROFESSIONS NYU Steinhardt’s Department of Music and Performing Arts Professions was established in 1925. Since that time, Steinhardt Music and Performing Arts Professions has functioned as NYU's "school" of music and developed into a major research and practice center in music technology, music business, music composition, film scoring, music performance practices, performing arts therapies, and the performing arts-­‐in-­‐education (music, dance, and drama). Today, 1,600 students majoring in renowned programs-­‐ baccalaureate through Ph.D.-­‐ are guided by more than 400 faculty who share The Steinhardt School’s spirit of openness and innovation. Faculty include international performing and recording artists, music business and technology leaders while others sit on leading journal editorial boards and publish some of the most significant music technology and performing arts research on the scene today. This depth and breadth of resources offers unparalleled opportunities for artistic, professional, and scholarly growth. We recognize that in addition to substantial training in individual specializations, our graduates require multiple skills. To that end we encourage students to benefit from rich and varied courses throughout The Steinhardt School and the University. In addition, our campus is surrounded by and blends into the world’s capital and epicenter of the performing arts, New York City. Alumni have major performing careers and coveted professional positions in the music industry and in universities throughout the world. Prominent alumni include: jazz great Wayne Shorter, multiple Tony and Grammy Award winning music theatre composer and songwriter Cy Coleman, multiple Tony and Grammy Award winning lyricist Betty Comden, multiple Oscar winning film composer Elmer Bernstein, and Tony Award, Oscar and Pulitzer Prize-­‐winning playwright and film writer John Patrick Shanley. -­‐ Dr. Robert Rowe, Director